The study is for the faun in the Triumph of Bacchus and Ariadne
who blows a horn while he strides alongside Silenus to support him on his
donkey. The Triumph of Bacchus and Ariadne is thought to be the first major
part of the Farnese ceiling to be frescoed. Since it was Annibale's
practice to refine the details as he went along rather than planning the
whole decoration at once, the drawings for the Triumph of Bacchus can be
counted among the earliest for the project.

Much admired, this drawing was exhibited for a long time in the Louvre
and the original blue of the paper has faded to gray. It is easy to
understand why it was held in such high esteem, for the life and energy of
the figure is impressive. The pose, with its jaunty counterpoise, the twist
of the body, and the bounce in the step, is one of the most memorable in
the Gallery. Annibale played with the contours, having begun the study with
both legs farther forward, and the multiple outlines enhance the sense of
action in the drawing.

A precursor to this figure appears in the Albertina modello (cat. 42)
and in one of the hasty ideas for the Triumph presented in three parts; in
both the pipes are double and held with two hands.1 A rather anonymous
attendant supporting Silenus appears in the Albertina modello in the
position that would be occupied by the faun in the final composition. No
other preparatory study is known for the faun, who is so authoritatively
realized in this sheet. The precise and definitive rendering, with the
lighting carefully plotted and shadows meticulously hatched and
crosshatched, was perfectly suited for translation to the full-scale
cartoon (cat. 47). Annibale was surely mindful of the final composition
when he drew this for he sharply truncated the faun's shoulder, in the
manner of a sculptured bust, where it would be obscured by Silenus' arm in
the fresco.

It is interesting to note that compared to the powerful, monumental
drawings for the nudes, which were done later in the cycle (cats. 59, 60),
this one is more conscientiously detailed, is articulated with shorter
strokes, and conveys a tight-knit elasticity in the physique.

The taut, detailed musculature, almost knobby in the torso, is
reminiscent of examples of antique sculpture that Annibale knew quite well.
For example, the Farnese owned a faun with infant Bacchus on his shoulder,
which was installed in one of the niches in the Gallery.2 While the pose is
not similar, the articulation of the anatomy is, and the Bacchic subject
may have inspired Annibale's interest.